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Alison Saar, Born Los Angeles, CA 1956
Rouse, 2012, wood, bronze, paper, antler sheds, and stamped ceiling tin,
The word "rouse" means to awaken and animate, and this sculpture evokes the self-awakening and personal transformation we often experience when encountering a turning point in life. Alison Saar made Rouse when her daughter left for college. The artist began thinking about "being menopausal . . . moving into new territory in my work . . . ready to let this other part of me mature and come out and be realized."
The massive antlers cradle a delicate, translucent adult figure in a fetal position, like a creature preparing to emerge from its cocoon. Scattered on the ground below are antlers that suggest a root network and, as the artist notes, mark "the passage of time to bring a child to adulthood."
“When I’m working with specific ideas, information from cultures outside of my own, I seek to understand them through my own personal experience in relation to everything I feel: my pain, my understanding of love or anger, what I hope for and dream about.”
–– Alison Saar, 1995
Alison Saar’s sculptures and installations are rooted in her interests in materiality and histories of art, religion, and spirituality from a global range of communities, including the African diaspora and Indigenous peoples, among others.
Saar was raised by the accomplished artists Betye and Richard Saar, whose distinct careers shaped her artistic development. Saar’s father, a classically trained art conservator at the Los Angeles County Museum of Art (LACMA), encouraged her to read books on Michelangelo, which influenced the solid and muscular physicality of her sculpted figures. Her mother’s artwork—assemblages of found objects that explore spirituality, folklore, and Black experience—fostered Saar’s interests in self-taught, African, Mexican, Native American, East Indian, and Asian art. In 1963, Saar moved with her parents to Laurel Canyon, a semirural enclave in Los Angeles, where she began the intensive engagement with found materials that proved crucial to her artistic practice, foraging for objects that she viewed as having “memory and spirit and a sense of that history.”
From 1974 to 1978, Saar attended Scripps College in Claremont, studying art of the African diaspora with Dr. Samella Lewis while making abstractions that attempted to, in her words, “evoke spirit through color and a very ethereal form.” In 1981, she received her MFA from the Otis Art Institute in Los Angeles, carving her first wooden figurative sculptures for her thesis. A year later, Saar moved to New York City and began the Studio Museum in Harlem’s Artist in Residence program in 1983. There, Saar constructed larger-than-life sculptures of women and men from salvaged tin ceiling tiles and wood. In 1991, Saar began bronze-casting public artworks, creating figurative statues that responded to their sites through layered cultural and historical references.
In the 1990s, Saar became a mother and began integrating this new experience into her work. She collaborated with her mother on works and shifted her subject matter to be “very female.” This mode culminated in Rouse (2012, SAAM), made when her daughter left for college. During this period, Saar also addressed current events such as the AIDS epidemic, Hurricane Katrina, and racial violence, creating an array of works that “attempt to distill bigotry to its essence in order to dispel it.” In the years following President Barack Obama’s election, she continued to probe racism through works that recast historical Black literary characters from racial stereotypes to autonomous subjects, such as in Reapers (2021, SAAM).
Imbuing urban and rural detritus with personal and cultural references, Saar’s career-long engagement with figuration takes “the ordinary” and goes “with it into the surreal.” As she once stated, “I’ve always treated the body as a courier for ideas, and within this shell we can understand and feel an experience better than a cerebral understanding.”
Authored by Gabriella Shypula, American Women’s History Initiative Writer and Editor, 2024.
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"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.
During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.
What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.
It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.
Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.
It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.
But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.
There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.
This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.
From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.
This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.
Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.
That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.
Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.
Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.
In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.
By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."
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Photo shows D.Psych student Lidija Balaz with Dr Mitchell Byrne. The two have presented at the Aspect’s Autism in Education Conference.
Students find a wealth of inspiration for their Plan of Concentration in the local landscape, such as this field study of the impact of ice storms on forest ecology.
"Understanding Complexity - Offering Solutions to Problems of the 21st Century" Conference February 9th - 10th Vienna TUtheSky
Latino Outreach and Understanding Division (LOUD),
SOMOS (We Are) is LOUD’s national multi-platform campaign, debuting in New York City, Los Angeles and Miami during National Hispanic Heritage Month (September 15th – October 15th). SOMOS highlights the strength, courage, and determination of 3 individuals who all come from humble beginnings and limited resources, yet fought to live in their authenticity. Join Zoey Luna, Mark Travis Rivera, and Sergio C. Garcia, as they walk us through their journey of rejection, defeat, and discrimination.
It is our hope that these stories motivate and empower others to continue fighting to live in their truth
"Understanding Complexity - Offering Solutions to Problems of the 21st Century" Conference February 9th - 10th Vienna TUtheSky
Edwidge Danticat read from her work and then joined with Aja Monet in a conversation as part of the Lannan Foundation's Readings and Conversations series live at the Lensic Theater.
Wednesday 27 March 2019
Santa Fe, New Mexico
Learn more about this event here.
Subscribe to Lannan Podcasts here.
Photo copyright Don Usner. For use, contact donusner@lannan.org.
"Understanding Complexity - Offering Solutions to Problems of the 21st Century" Conference February 9th - 10th Vienna TUtheSky
Liu Sheng ‘Unfamiliar Understanding /刘晟《来自陌生的了解》, 2017, Liu Sheng solo exhibition: ‘Rehabilitation for Fragments’ /《为碎片正名》, Phoenix Art Center / 凤凰艺都, 798 Art Zone, Beijing, China
Oct 25, 2014 PLSC167 "Understanding Delaware Agriculture" students from Georgetown and Newark tour Hoobers, Inc. in Middletown, Del. Students received an orientation about Precision Agriculture and the technological innovations of modern agriculture. Students also drove an $185,000 tractor.
Photos are not to be interpreted as an endorsement of product or brand. Photos by Michele Walfred
This event brought together a panel of three leading economists—Thomas Piketty, Kevin Murphy, and Steven Durlauf—to discuss the sources of the rise in inequality in advanced industrialized countries over the past 40 years, the problems it poses, and effective responses. Nobel laureate James Heckman moderated the panel and guided the discussion.
This event was cosponsored by the Becker Friedman Institute, the Harris School of Public Policy, the Human Capital and Economic Opportunity Global Working Group, and the Center for the Economics of Human Development.
- See more at: bfi.uchicago.edu/events/understanding-inequality-and-what...
Ceremonia Inaugural
Participa Secretario General, Presidente de Costa Rica y la Representante del BM para CA.
Del 12 al 14 de febrero Costa Rica es anfitrión del Understanding Risk Centroamérica, una conferencia donde cerca de 500 expertos internacionales se reúnen para conversar sobre prácticas e innovaciones para la compresión del riesgo de desastres y el riesgo climático en Centroamérica.
En la actividad que se desarrolla en el Centro de Convenciones de Costa Rica participan expertos, organizaciones, e instituciones académicas, quienes buscarán construir alianzas estratégicas para pasar de la comprensión del riesgo a la acción en resiliencia ante desastres.
Asimismo, se abordarán diversos temas en materia de inclusión social, compromiso comunitario, patrimonio cultural, resiliencia costera, servicios meteorológicos, climáticos e hidrológicos, resiliencia fiscal y financiera, urbanismo, análisis de riesgos y comunicación del riesgo.
En la inauguración este miércoles participaron Carlos Alvarado, Presidente de la República de Costa Rica, Vinicio Cerezo, Secretario General del Sistema de la Integración Centroamericana (SICA), Seynabou Sakho, Directora del Banco Mundial para Centroamérica; investigadores de la NASA como Sandra Cauffman y Daniel E. Irwin, y el gerente país de Waze para Colombia, Perú y Centroamérica, entre otros invitados.
#SICA #ElSalvador #CostaRica #Nicaragua #RepublicaDominicana #Belize #Honduras #Panama #Guatemala
Recent graduate Finn Lefevre, whose teaches Theater of Oppression and leads workshops in the area, was a guest speaker for the company, offering their workshop on queerness to help everyone better understand the issues in the play.
A piece trying to incorporate elements of the rotation of ahead in 3 stages, to be used compositionally in my final piece
Save on A Framework for Understanding Poverty Saving, Order Now! Want it delivered within 1 day? Choose One-Day Shipping at checkout.A Framework for Understanding Poverty See More Detail at this Link: Read Full Detail | Compare
A Framework for Understanding Poverty
Together Abroad gives workshop " Understanding Dutch Labour Market" / "How to find job in the Netherlands after graduation?" at VU Amsterdam
The British Deputy High Commission, Kolkata signed a Memorandum of Understanding on 13 September 2012 with Parivar (a unit of Bijan Banerjee Charitable Trust) to provide free legal advice and counselling services to British Nationals in need. Parivar works with disadvantaged children in Kolkata to educate, nourish and counsel them. British Deputy High Commissioner Eastern India Sanjay Wadvani was chief guest of the event. Follow us on www.twitter.com/ukinindia
Check CBSE class 10th Structure of Human Brain Extramarks app now. Learn about the learning hack of the brain. Our Visual memory is more powerful than what we read or study in the written form. This to enhance the earning process of the students. Extramarks provide students the Audiovisual to learn efficiently. Students can depend on the app for an interactive learning experience.
Demystifying the new healthcare legislation was the focus of the Sabo Center Public Policy Symposium on October 15. Panelists were (L to R) Martin Sabo ’59, moderator; Donna Zimmerman, HealthPartners; Dr. Sanne Magnan, Minnesota Department of Health; and Dr. Bruce Amundson ’60, Community Health Innovations, Inc.
Cape Town, South Africa. July 2012.
South Africa hosted the second global Understanding Risk (UR) Forum in Cape Town from July 2-6, 2012. The Forum convened more than 500 thought leaders and decision-makers from 86 countries to exchange knowledge and share best practice in disaster risk assessment.
Photo: World Bank